In Madrid, British singers were given the opportunity to perform in a major “Peter Grimes” production that included around 150 artists, at a time when most Opera houses are closed in Europe and the United States, But they were worried about what would happen next.
James Gilchrist, who sings a priest’s part in Breton’s opera, said 90 percent of his work was in the European Union rather than in the UK, giving him concerns not only of his own future, but also of prospects for younger artists . “If you’re a promoter in Frankfurt or anywhere else, you don’t want to put a British artist at the top of your list, because it’s just so much trouble,” he said.
“For very well established artists, this is probably less of a problem because their name on the poster will get people in, but if you’re more into the beginning of your career, I think it’s very, very difficult. Going to do. “
Matabosh said that Tetro Real was committed to having the best possible lineup regardless of nationality. He speculated that post-Brexit rules would be easier to navigate, but acknowledged that British artists risked losing replacement work, which is a significant part of their income.
“I’m sure we’ll know exactly how to bring a British singer, like people from Australia or Canada come here. But the problem is if you need a last-minute replacement and someone has to fly in the very morning Is, so this is not really possible from the UK at this time.
Another British member of “Peter Grimes”, John Graham-Hall, thanked Tetro Real for helping him overcome travel barriers, which made him “feel very bad that the British government didn’t care about the arts.” He also gave a brief summary of the twin hurdles raised by Brexit and the epidemic: “It’s a bloody nightmare.”
Alex marshall Contributed reporting from London